Under the direction of photographer Sandro Miller, actor John Malkovich plays a series of unexpected roles in a recent body of work at Chelsea’s Yancey Richardson Gallery. As Warhol’s Marilyn, Arthur Sasse’s Albert Einstein and here, Dorothea Lange’s Migrant Mother, Malkovich’s face makes some of art history’s most iconic images eerily unfamiliar. (Through July 8th).
Self-taught super realist painter Lordan Bunch paints children from class photos and photo-booth shots, pulling their identities from oblivion to act as memento mori. (At Foley Gallery on the Lower East Side through June 30th).
Russian-American artist Asya Reznikov takes on the role of Manet’s bar maid at the Folies-Bergere, only she serves the demands of just one client and from her own body. Transplanted from the public realm into the domestic sphere, Reznikov’s character still manages a tight ship but with little apparent enjoyment. (At Nancy Hoffman Gallery in Chelsea through July 1st).
New York painter Joanne Greenbaum takes mark making into three dimensions with ceramics that evoke natural forms and architecture in vibrant color at Rachel Uffner Gallery on the Lower East Side. (Through July 1st).
Aperture’s exhibition ‘Tiny: Streetwise Revisited’ is a fascinating glimpse into the life of Tiny, the petite Seattle teen memorably photographed in 1983 by Mary Ellen Mark for Life magazine and filmed by her filmmaker husband Martin Bell for his 1984 documentary Streetwise. As a young woman in this photo, she dreams of having riches and a family of 10 kids. In the exhibition, Mark follows Tiny as she fulfills her second wish as poverty and addiction define her life. (In Chelsea through June 30th).
Glass, mirrors and distorted perspectives turn nature into a candy-colored wonderland in new photos by Paris-born, NY photographer Karin Laval. This hyped-up version of nature literally moves into the gallery space as Laval presents an image on the wall and as sculpture. (At Chelsea’s Benrubi Gallery through July 1st.)
Miroslav Tichy surreptitiously photographed unsuspecting women in the Czech Republic for decades; the resulting images are often celebrated in New York galleries and museums. For her solo show at the New Museum, Polish-born artist Goshka Macuga created this tapestry, featuring women from Tichy’s photos (and other sources) along with two women who wear body suits based on Tichy’s drawings. The women in the tapestry clean Karl Marx’s tombstone, summoning not workers but women to unite. (At the New Museum through June 26th).
The woman at the center of Nicole Eisenman’s portraits ‘Weeks on the Train,’ (the writer Laurie Weeks) is casually posed, but commands an unusually large amount of room. The space creates an aura around her and gives her a sense of approachability that eludes the two oddballs seated in front of her. (At Anton Kern Gallery in Chelsea through June 25th).
Taking an 80s aesthetic as inspiration, Ben Sander’s steel vase is a surprisingly sturdy support for an abstract design of floating shapes and heavily textured lines of lavender paint. Sander’s accompanying 2-D work behind likewise balances the substantial – thick marks resembling giant paint strokes – with unanchored shapes including ping pong and Wiffle balls to offer an amusing musing on taste. (At Chelsea’s Asya Geisberg Gallery through June 25th).
Large mirrors intersect with clear glass frames in Berlin-based Polish artist Alicja Kwade’s first solo show at 303 Gallery, confusing the sightlines and adding intrigue to the gallery’s stunning new space on 21st Street. In the foreground, Kwade offers a beautiful brass sculpture that suggests the trajectory of a slowing spinning and falling hoop, arresting a sequence of events as a sculpture. (In Chelsea through June 30th).
East Asian tradition meets folk tale characters in the late Kirk Magnus’s ceramic demon, now part of the artist’s mini-30 year retrospective at James Cohan Gallery. Magnus’ deep knowledge of the world’s ceramic arts and his sense of humor are evident in a variety of vessels crafted with different techniques and featuring an assortment of oddball characters. (On the Lower East Side through June 26th).
From this single-projection light work from 1968 now on view at Pace Gallery to his stunning transformation of the Guggenheim Rotunda into a light installation in 2013 James Turrell suggest that light can manifest in physical form. Juke Green – glowing an emerald green that suffuses the room with color – conjures a giant gem or a portal into another world. (At Pace Gallery’s 534 West 25th Street location.)
Whether she is Venus, Sister Ray (a Velvet Underground character), or Penthesilea, the Amazonian Queen, Danish artist Peter Linde Busk’s recurring female character has a jittery, incomplete quality owing to her construction from cast-off and fragmentary materials. Here, Smalti, natural stones, ceramics and more compose a faceless, imperfect creature. (At Derek Eller Gallery on the Lower East Side through June 19th).
Last November, a former guard at the Wexner Center for the Arts in Ohio entered the Center shortly after it opened, shooting and spray painting artworks before killing himself. Rachel Harrison’s sculpture ‘Valid Like Salad,’ which features a portrait of Al Pacino in Scarface and indirectly questions who we validate as heroes, was one of the targeted artworks. Now on display at Greene Naftali Gallery, it is a chilling witness to our current epidemic of gun violence. (In Chelsea through June 18th).
Iconic Italian Arte Povera artist Mario Merz demonstrated his ongoing interest in the Fibonacci sequence this spiral table from 1982, now on view at Sperone Westwater Gallery. Merz translates the Fibonacci numbers – in which each number is the sum of the previous two – into a symbolic display of nature’s beautiful bounty. (On the Lower East Side through June 25th).
Known for painting muscled men who radiate strength, Indonesian artist Nyoman Masriadi creates a painting seething with tension as two guards interrogate a party-goer who claims to be ‘on the list.’ Each towering painting in the show (this one is over six feet tall) seethes with drama as it pokes fun at various powerful men. (At Paul Kasmin Gallery’s 293 Tenth Ave location through June 18th).
An ostrich, Asiatic black bear and other animals look to be constructed of cigarettes but have actually been crafted from Sculpey and acrylic by Amanda Nedham. A standout in Invisible Export’s group exhibition on the current cultural status of smoking, Nedham equates animals threatened by habitat loss with another endangered species – the smoker. (At Invisible Exports on the Lower East Side through June 19th).
‘We were dealing with art as a way of mediation,’ explained late West Coast painter Lee Mullican of his pattern-driven, energetic work inspired by Native American art and design. (Seen here in detail.) (At James Cohan Gallery’s Chelsea location through June 18th).
A ghostly face and a walking figure arise out of a tangle of clothing in Thornton Dial’s energetic 2007 work ‘Winter Jackets.’ The late self-taught artist returns to political themes in this show – the first since his passing in January. Here, we ponder the movement of a solitary (uniformed?) individual who strides forward with purpose. (At Marianne Boesky Gallery in Chelsea through June 18th).
Richard Tuttle celebrates fifty years of art making with a show of work from his last 26 New York solo shows. ‘Titel 3’ from 1978 typifies Tuttle’s sometimes ephemeral arrangements; a washy drip of brown watercolor on the wall interacts with a crisp, green arch of paper, creating a succinct contrast between chance and deliberate gestures. (At Pace Gallery’s 25th Street location through June 11th)
Brooklyn-based, Sri-Lanka raised artist Nadia Haji Omar has found inspiration for her abstract forms in Tamil, Sinhala, Arabic and French letter forms. This untitled dye and acrylic canvas nods to language as much as to natural forms found in the water or under a microscope. (At Kristen Lorello Gallery on the Lower East Side through June 12th).
Sargent’s Daughters’ homage to Dutch New Yorker Anton van Dalen includes this painting from 1986 featuring behavior psychologist B.F. Skinner, whose pigeon experiments included a plan to train the birds to guide missiles in WWII. Himself a pigeon fancier, van Dalen reimagines the pigeon’s world to fascinating effect. (On the Lower East Side through June 12th).
Iconic German artist Sigmar Polke created this painting the year after a trip that took him around Asia, from Papua New Guinea to Thailand and beyond. Painted on checked fabric, Polke’s hovering, calligraphic mountains compete with a rectangular pattern of curving black splashes, creating an almost mythical realm at center. (At David Zwirner Gallery’s 20th Street location through June 25th).
Meg Webster’s environmentally friendly project at Paula Cooper Gallery uses a solar-powered electrical system to power grow lights that maintain planters full of herbs, lettuce, flowers and more. Mylar-covered walls reflect light and emphasize how unnatural Webster’s carefully maintained, secluded slice of nature is. (In Chelsea through June 24th).
LA artist Naotaka Hiro’s fragmentary, cast self-portraits question what we do and don’t see from the exterior. ‘Big Question’ also appeals our sense of hearing as the artist demonstratively takes hold of his ear. (At Brennan & Griffin on the Lower East Side through June 5th).
Anish Kapoor’s monumental sculpture ‘She Wolf’ appears to be tipping over under its own weight, or deliberately leaning to the gallery floor from its marble pedestal. Given the title, giant quasi-oval shapes suggest teats, though a covering of soil over the structure’s rocky forms ties it to the earth, creating a kind of living geology. (At Barbara Gladstone Gallery’s 21st Street location through June 11th).
New York artist Josh Blackwell morphs a plastic carrier bag into a wonder of colorful stitching in a free-standing sculpture that’s a poster child for reuse and recycling. (At 11R on the Lower East Side through June 5th).
Inspired by a sculpture in a David Cronenberg sci-fi horror film, Dora Budor’s enormous head houses a seating area – a lounge for contemplating the life of the mind and how it can be controlled. (At Ramiken Crucible through June 5th).
How do you make a 2-D image that is also a time-based artwork? Willy Le Maitre’s answer is to include multiple images in a lenticular print, so that, for example, a children’s play area runs together with icy branches and a glowing screen. Le Maitre explains that as viewers move back and forth before a piece, they use their eyes and their memory of what they’ve just seen to complete the picture. (At Canada NYC on the Lower East Side through June 5th).
